In No. 335, we gave the outline of the story of Rienzi, principally from
Gibbon, but interspersed from other authorities. Miss Mitford's tragedy
has since been represented with considerable success, and published.
In the preface, we are told, that in addition to the splendid narrative
of Gibbon, recourse has been had to "the still more graphical and
interesting account of Rienzi's eventful career," contained in _L'Abbé
de Sade's_ Memoirs of Petrarque; and that, "as far as the female
characters are concerned," the materials are entirely from invention.
All this may appear well enough for the construction of the drama,
and the female characters are drawn with peculiar grace and feeling;
but we do not see why the character of Rienzi should be so essentially
altered from history as it has been; neither do we think that any
desirable effect has been gained by this change. In history, Rienzi is a
master-spirit of reckless and atrocious daring, but in the drama, he is
softened down to a fickle liberty brawler, and the sternest of his vices
are glossed over with an almost inconsistent show of affection and
tenderness. As he there stands, he is rather like an injured man, than
one who so liberally dealt oppression and injustice around him.
Miss Mitford's tragedy will, however, be read with considerable interest
in the closet, and fully to appreciate its beauties, every one who has
witnessed it, ought to read it; for many of its "delicate touches" must
be lost in the immense area of Drury Lane Theatre.[2] The plot is
simple, and is effectively told; but as the newspapers, daily and
weekly, have already detailed it, we shall confine ourselves to a few
passages, which, in our reading, appeared to us among the many beauties
of the drama.
[2] Indisposition has as yet prevented our witnessing the representation
of _Rienzi_; but we have been told by our play-going friends that every
scene is listened to with marked attention, and that many passages are
judiciously applauded. We are glad to hear this, because it is strong
encouragement for other dramatists, and leads us to hope that
tragedy-writing may still be revived among us, and that with greater
success than has attended many recent efforts.